Girldating height 121 cm
Girldating height 121 cm - Sex Chat
This artist, a fervent believer in Stoicism, appears to have been interested in little more than his studies and his painting; fame and wealth were but mere secondary concerns.Poussin's sober personality and his carefully thought out theories of art have earned him the nickname of "the philosopher painter."Consequently, Poussin is regarded as the least popular of the Old Masters.
Poussin's reputation as a cold, cerebral artist of the intellect, is certainly deserved, but only to a point: as classically detached and coolly rational as Poussin's paintings may be, a closer look at this French Baroque artist's oeuvre reveals that they are also so much more.As well as a painter, Poussin was a prodigious draftsman, but his drawing techniques differ vastly from those of his contemporaries.While other Baroque artists would execute carefully detailed finished studies for their final paintings as a kind of blueprint for the workshop assistants who would then transfer these designs onto the canvas, Poussin would do no such thing.Poussin was fiercely possessive of his art and depended less on assistants than perhaps any other artist of his time; furthermore, he believed that the act of transferring the drawing onto the canvas was as fundamental a part of the act of creation as painting itself.Therefore, Poussin's drawings are rarely finished, polished studies but instead the mad scribblings of an artist who would obsessively draw the same composition over and over with infinite variations in arrangement.Poussin, who was a pioneer of landscape painting along with Annibale Carracci and Claude Lorrain, also enjoyed roaming the Roman countryside and sketching what he saw.
These landscape sketches are amongst the most interesting drawings in his oeuvre.
Technically, Poussin is one of the major painters of the French Baroque.
The enormously influential and often reviled painter Nicolas Poussin is, like most artists, rather misunderstood.
Poussin tends to be either over-idealized by his admirers as the epitome of French Baroque painting, or dismissed by his many haters as cold and overly-intellectual.
In reality, however, Poussin falls somewhere in the middle: he was neither the symbol of 17th century French painting and painter of the establishment, nor was he completely devoid of Baroque dynamism and emotion.
Poussin himself would hardly have cared whether or not he was adored or reviled.